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Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
Before the Vichy regime, there was ostensibly only one France and one form of colonialism for French West Africa (FWA). World War II and the division of France into two ideological camps, each asking for legitimacy from the colonized, opened for Africans numerous unprecedented options. French Colonialism Unmasked analyzes three dramatic years in the history of FWA, from 1940 to 1943, in which the Vichy regime tried to impose the ideology of the National Revolution in the region. Ruth Ginio shows how this was a watershed period in the history of the region by providing an in-depth examination of the Vichy colonial visions and practices in fwa. She describes the intriguing encounters between the colonial regime and African society along with the responses of different sectors in the African population to the Vichy policy. Although French Colonialism Unmasked focuses on one region within the French Empire, it has relevance to French colonial history in general by providing one of the missing pieces in research on Vichy colonialism. Ruth Ginio is a research fellow at the Harry S. Truman Research Institute for the Advancement of Peace in the Hebrew University of Jerusalem. She is the author of articles in International Journal of African Historical Studies, Revue d'histoire moderne et contemporaine, Cahiers d'etudes africaines, and several other journals.
In an effort to restore its world-power status after the humiliation of defeat and occupation, France was eager to maintain its overseas empire at the end of the Second World War. Yet just fifteen years later France had decolonized, and by 1960 only a few small island territories remained under French control.The process of decolonization in Indochina and Algeria has been widely studied, but much less has been written about decolonization in France's largest colony, French West Africa. Here, the French approach was regarded as exemplary -- that is, a smooth transition successfully managed by well intentioned French politicians and enlightened African leaders. Overturning this received wisdom, Chafer argues that the rapid unfurling of events after the Second World War was a complex , piecemeal and unpredictable process, resulting in a 'successful decolonization' that was achieved largely by accident. At independence, the winners assumed the reins of political power, while the losers were often repressed, imprisoned or silenced.This important book challenges the traditional dichotomy between 'imperial' and 'colonial' history and will be of interest to students of imperial and French history, politics and international relations, development and post-colonial studies.
In contrast to the role traditionally fulfilled by secular rulers, the pope has been perceived as an individual person existing in a body subject to decay and death, yet at the same time a corporeal representation of Christ and the Church, eternity and salvation. Using an array of evidence from the eleventh through the fifteenth centuries, Agostino Paravicini- Bagliani addresses this paradox. He studies the rituals, metaphors, and images of the pope's body as they developed over time and shows how they resulted in the expectation that the pope's body be simultaneously physical and metaphorical. Also included is a particular emphasis on the thirteenth century when, during the pontificate of Boniface VIII (1294-1303), the papal court became the focus of medicine and the natural sciences as physicians devised ways to protect the pope's health and prolong his life. Masterfully translated from the Italian, this engaging history of the pope's body provides a new perspective for readers to understand the papacy, both historically and in our own time.
What is it to see the world, other people, and imagined situations as making personal moral demands of us? What is it to experience stories as speaking to us personally and directly? Kierkegaard's Mirrors explores Kierkegaard's answers to these questions, with a new phenomenological interpretation of Kierkegaardian 'interest'.
A truly international, authoritative A–Z guide to five centuries of propaganda, in both wartime and peacetime, which covers key moments, techniques, concepts, and some of the most influential propagandists in history. This fascinating survey provides a comprehensive introduction to propaganda, its changing nature, its practitioners, and its impact on the past five centuries of world history. Written by leading experts, it covers the masters of the art from Joseph Goebbels to Mohandas Gandhi and examines enormously influential works of persuasion such as Uncle Tom's Cabin, techniques such as films and posters, and key concepts like black propaganda and brainwashing. Case studies reveal the role of mass persuasion during the Reformation, and wars throughout history. Regional studies cover propaganda superpowers, such as Russia, China, and the United States, as well as little-known propaganda campaigns in Southeast Asia, Ireland, and Scandinavia. The book traces the evolution of propaganda from the era of printed handbills to computer fakery, and profiles such brilliant practitioners of the art as Third Reich film director Leni Riefenstahl and 19th-century cartoonist Thomas Nast, whose works helped to bring the notorious Boss Tweed to justice.
We are all fascinated by the mystery of metamorphosis – of the caterpillar that transforms itself into a butterfly. Their bodies have almost nothing in common. They don’t share the same world: one crawls on the ground and the other flutters its wings in the air. And yet they are one and the same life. Emanuele Coccia argues that metamorphosis – the phenomenon that allows the same life to subsist in disparate bodies – is the relationship that binds all species together and unites the living with the non-living. Bacteria, viruses, fungi, plants, animals: they are all one and the same life. Each species, including the human species, is the metamorphosis of all those that preceded it – the same life, cobbling together a new body and a new form in order to exist differently. And there is no opposition between the living and the non-living: life is always the reincarnation of the non-living, a carnival of the telluric substance of a planet – the Earth – that continually draws new faces and new ways of being out of even the smallest particle of its disparate body. By highlighting what joins humans together with other forms of life, Coccia’s brilliant reflection on metamorphosis encourages us to abandon our view of the human species as static and independent and to recognize instead that we are part of a much larger and interconnected form of life.
Building upon Husserl’s challenge to oppositions such as those between form and content and between constituting and constituted, The Concept of Passivity in Husserl’s Phenomenology construes activity and passivity not as reciprocally exclusive terms but as mutually dependent moments of acts of consciousness. The book outlines the contribution of passivity to the constitution of phenomena as diverse as temporal syntheses, perceptual associations, memory fulfillment and cross-cultural communication. The detailed study of the phenomena of affection, forgetting, habitus and translation sets out a distinction between three meanings of passivity: receptivity, sedimentation or inactuality and alienation. Husserl’s texts are interpreted as defending the idea that cultural crises are not brought to a close by replacing passivity with activity but by having more of both.
Taking an interdisciplinary approach, this volume brings together contributions by distinguished experts from different disciplinary fields for a multidimensional view on immersion in the visual arts and media. In the current media debate, immersion has frequently been linked to the advent of digital technology and its capacity to provide vivid sensations of being placed in or surrounded by an artificial space. The idea of ‘liquidity’ contained in this promise to plunge into another world informs wide areas of contemporary cultural imagination, referring to a myriad of phenomena that relate to experiences of uncertainty and instability, of complexity and change. Considering the fact, however, that the idea of ‘liquid’ spaces appeared long before the digital creation of augmented or virtual environments, the contributors to this volume trace its reemerging throughout the history of the visual arts and media. By focusing on selected works of painting and architecture, photography and cinema, video installation and media art, they explore the variability of immersive experiences according to the different media environments and interfaces that constitute the actual sites of historically shifting relations between media and users. Contributors are: Matthias Bauer, Jörg von Brincken, Robin Curtis, Burcu Dogramaci, Thomas Elsaesser, Ole W. Fischer, Gundolf S. Freyermuth, Ursula Frohne, Henry Keazor, Matthias Krüger, Katja Kwastek, Fabienne Liptay, Karl Prümm, Martin Warnke.